"27. Ah, leave me not to pine alone and desolate" by Arthur Sullivan, Royal Philharmonic Orchestra, Isidore Godfrey, Valerie Masterson, Philip Potter was released on January 1, 1968. With this song being around four minutes long, at 3:58, the duration of this song is pretty average compared to other songs. This track is safe for children and doesn't appear to contain any foul language, since the "Explicit" tag was not present in this track. The track order of this song in Arthur Sullivan, The D'Oyly Carte Opera Company, Royal Philharmonic Orchestra, Isidore Godfrey's "Gilbert & Sullivan: The Pirates of Penzance" album is number 13 out of 40. On top of that, United Kingdom appears to be the country where this track was created. 27. Ah, leave me not to pine alone and desolate is not that popular right now. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
We consider the tempo marking of 27. Ah, leave me not to pine alone and desolate by Arthur Sullivan, Royal Philharmonic Orchestra, Isidore Godfrey, Valerie Masterson, Philip Potter to be Andante (at a walking pace) because the track has a tempo of 84 BPM, a half-time of 42BPM, and a double-time of 168 BPM. Based on that, the speed of the song's tempo is slow. The time signature for this track is 4/4.
G Major is the music key of this track. This also means that this song has a camelot key of 9B. So, the perfect camelot match for 9B would be either 9B or 10A. While, 10B can give you a low energy boost. For moderate energy boost, you would use 6B and a high energy boost can either be 11B or 4B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 9A or 8B will give you a low energy drop, 12B would be a moderate one, and 7B or 2B would be a high energy drop. Lastly, 6A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
Salve Regina | Giacomo Puccini, Chiara Taigi, Roberto de Thierry, Orchestra Sinfonica di Milano Giuseppe Verdi, Riccardo Chailly | F Major | 0 | 7B | 81 BPM | ||
Finale | William Schwenck Gilbert, Arthur Sullivan, Lars Payne | C Major | 3 | 8B | 111 BPM | ||
Carmen, Act IV, No.26 Marche et Choeur: Carmen, un bon conseil (Frasquita/Carmen/Mercédès) | Georges Bizet, Elisabeth Vidal, Michel Plasson, Wolff, Orchestre National Du Capitole De Toulouse | F Minor | 1 | 4A | 111 BPM | ||
Così fan tutte, K. 588 / Act II: "Il core vi dono" | Wolfgang Amadeus Mozart, Adam Plachetka, Angela Brower, Chamber Orchestra of Europe, Yannick Nézet-Séguin | B♭ Major | 0 | 6B | 72 BPM | ||
Mother Sea - from 'Ponyo on the Cliff by the Sea' | Joe Hisaishi, Royal Philharmonic Orchestra | C Major | 3 | 8B | 136 BPM | ||
Le nozze di Figaro, K.492 / Act 2: "Porgi amor" | Wolfgang Amadeus Mozart, Kiri Te Kanawa, London Philharmonic Orchestra, Sir Georg Solti | E♭ Major | 0 | 5B | 100 BPM | ||
14. With aspect stern and gloomy stride | Arthur Sullivan, Kenneth Sandford, John Reed, The D'Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Royston Nash | G Major | 1 | 9B | 117 BPM | ||
Die Nacht, Op.10, No.3 | Richard Strauss, Barbara Bonney, Malcolm Martineau | D Major | 0 | 10B | 174 BPM | ||
Waltz Song: Je veux vivre (from Roméo et Juliette) | Dame Joan Sutherland, Orchestra of the Royal Opera House & Covent Garden, Francesco Molinari-Pradelli | G Major | 1 | 9B | 72 BPM | ||
The Merry Widow (Die lustige Witwe) - Sung In Italian - Act 2: Vilja-Lied | Franz Lehár, Renata Tebaldi, With Orchestral Accompaniment | G Major | 1 | 9B | 88 BPM |
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